South Beach, also nicknamed SoBe, is a neighborhood in the city of Miami Beach, Florida, United States, located due east of Miami city proper between Biscayne Bay and the Atlantic Ocean. The area encompasses all of the barrier islands of Miami Beach south              

Dec 12, 2012

came home from miami to 17″ of snow…  at least i have these pics.

lo & behold

david petersen!

nathan coutts

apartamento should do this place.

brian and kyle!

nice shirt patrick!

the view from the counter i had my coffee at every morning. great light!

kyle spotted this guy!

lulu wearing sam vinz hat.

speaking of lulu, she got shot in various projects for garancedoré.fr  outside nada!

this guy’s watering his plants from up on the roof. he was to tired to come downstairs.

elevator shaft

skin + bones: parallel practices in fashion and architecture

art smith is a new obsession.  thanks mark and duane!

fred eversly came by the booth.  amazing to spend some time. 

at the bass museum party…  this pic pretty much sums it up.
so many of the trees are lit up in miami. so many great shadows.


sarah braman

daniel buren

non-mono-ha mono-ha?

louise bourgeois

me in 20 years. the owner of puerta sugua.

hanging at kyle’s pad.

big daddy cane.

me alexis and kyle pic by lulu.
what a great week.  so much gratitude. 
please enjoy the time and space.
posted by matt olson

Miami is a city located on the Atlantic coast in southeastern Florida and the county seat of Miami-Dade County. The 42nd largest city proper in the United States, with a population of 408,568, it is the principal, central, and most populous city of…              

Dec 7, 2012

pen, tunes, neckerchief, excedrin, notebook, credentials… ready!

design miami and art bagel!

booth looks amazing.  thanks mondo patrick and lulu.  so grateful.

rolu featured in the design miami ad!
maison patrick margiela

the midnight sandwich and mora rice.  one of the best parts of coming down here.

my favorite booth.  kaleidoscope mag. stuck in customs.

truthfully my favorite booth is arratia, beer.  showing amazing work by pablo rasgado.

hanging with fabrizio rollo.  he always looks amazing.

alexis dj’d the white zinfandel party at nada.  he was in this crazy lighted unit on wheels. super nice breeze coming off the ocean.  weirdo beach vibe music. awesome.

knicks beat the heat!  so great to have a non-art night with kyle. thx brother.

rasheed wallace!  all net!

got obsessed with this end to the section next to ours. the glass is just glued and bolted to the concrete. made me think of the way sigurd lewerentz did windows.

carmelo anthony didn’t play and the knicks somehow still blew the roof off the place!

lulu is the best.  we are so grateful for all her help. we’re going to do a collab called rolulu someday. 
she’s been wearing amazing various projects stuff everyday. so good.
please enjoy the time and space.
posted by matt olson

Harald Szeemann has – and There’s more at stake in adopting such a designation than semantics. Szeemann is more conjurer than curator—simultaneously archivist, conservator, art handler, press officer, accountant, and above all, accomplice of the artists.”              

Dec 5, 2012

great harold szeemann related post by our friend JOÃO DORIA at the walker art center design blog.  i’ve been cukoo for szeemann forever and every new perspective / discovery always makes me happy and more solid in my certainty at his amazingness. 
scenes from rolu/mondo miami coming soon.
please enjoy the time and space.
posted by matt olson

Minus one contains one: the hysterical absence is in turn a no, a refusal, even a lie. She adds a supplementary catalogue that she designed after the exact measures of Asher’s piece of glass-she adds supplementary lettering on the wall… She adds?              

Dec 3, 2012

a few that keep coming up lately: michael asher, sylvia kolbowski and jaques lacan.
have been super interested in this work by kolbowski that uses an asher work as its entry.  i keep reading this short piece every few days or so.  it keeps landing in different ways for me and points towards different things-all wonderful-and it continues to hold my interest. there’s something elusive about it that keeps pulling me back.
asher has been present, in a way, for years.  his recent passing brought him to mind more. 
lacan has been coming up in the weirdest unpredictable ways.  every time there’s a weird feeling of personal interior resonance for me.  it makes me laugh it happens so much.  there’s a quick, momentary feeling of groundlessness in my chest.
ps.  i want this kolbowski edition from fillip.  and  this olaf nicolai / filip project.
please enjoy the time and space.
my next post ius coming from miami.
posted by matt olson

on the evening of the show’s preview for the artists and their friends, he left the museum for a short time to dress, and when he returned, the banner was gone. he initiated a petition, which had considerable support, but did not result in the work’s rei              

Nov 30, 2012

part one here
part two
what happened next has been the source of much commentary.  as buren recalls it, on the evening of the show’s preview for the artists and their friends, he left the museum for a short time to dress, and when he returned, the banner was gone.  he initiated a petition, which had considerable support, but did not result in the work’s reinstallation.  buren himself has pointed out that the artists who were most vociferous in decrying the project, such as flavin and donald judd, were also the most powerful artists at the time, and to preserve the unity of the show, the museum could not risk their withdrawal.  
although peinture-sculpture was never seen by the public, its impact has been lasting.  buren had challenged the supposed neutrality of the museum space as container for art, the viewing conditions of this particular museum, and the tricky dynamic of cooperation inherent in the very concept of group exhibitions, thus establishing his preeminent position as the father of institutional critique.
i’m so fascinated with this.  donald judd really was sort of an asshole it seems like.
please enjoy the day.
posted by matt olson

buren fabricated the banner in his parents’ parisian apartment, his mother working on the sewing machine while he and his father manipulated the vast swaths of cloth in the tiny space. once it was finished the work was wrapped in brown paper and shipped              

Nov 28, 2012

the guggenheim international exhibition, 1971, was the sixth (and last) in a series of invitational exhibitions established in 1956, designed to recognize significant achievements in the international contemporary art world. 

although earlier internationals had no specific thematic focus, the 1971 exhibition, organized by assoc curators edward f fry and diane waldman, was consistent in its selection of works that spoke to the prevailing minimalist, post-minimalist and conceptual tendencies of the time. twenty-one artists from eight countries, the majority american, were invited to present works that responded to the display context of the exhibition-the challenging spaces of frank lloyd wright’s architecture. many created new site-specific works specifically for the show (duh?)

the mandate especially suited the artistic practice of daniel buren, the only french artist to be selected, who creates works in situ composed of 8.7cm wide vertical stripes. made in fabric, paper, tape or paint, buren’s stripes draw attention to the framework in which his art is displayed and critique the conditions that sustain it, whether political, social, cultural, economic, or aesthetic.

buren has described wright’s spiral building as a powerful vortex, designed to pull the viewer’s attention toward the center, thereby subordinating everything to the grandeur of the architecture itself and “banishing to the periphery what is exhibited on the ramps.” in his 1971 work the artist set out to challenge this situation by literally filling this void with a large banner of alternating white and blue stripes, on both recto and verso, with the two vertical, white edges painted in white (to lay claim to the fact that it was a three-dimensional painting, not a ready-made.)

although buren usually worked by himself, in this case he was obliged to engage in a dialogue with the museum about his intentions. he believed there was a strong risk his that his proposal for the museum’s central space-the most strategic place in the show, as he put it-would be rejected, and he was surprised when it wasn’t.  however, ms. waldman, the curator who selected buren, apparently made it clear that she was uneasy with the installation and the impact it would have on the overall exhibition.
based on the plans provided to him by the guggenheim, buren fabricated the banner in his parents’ parisian apartment, his mother working on the sewing machine while he and his father manipulated the vast swaths of cloth in the tiny space.  once it was finished the work was wrapped in brown paper and shipped to new york.  but when it was hung the day before the exhibition opening, some of the participating artists demanded that the banner be withdrawn because it obstructed views of their installation.  buren insisted that the “obstruction” claim was merely a pre-text, pointing out that works are not meant to be viewed across the width of the museum’s rotunda, a distance well over one hundred feet;  that the ceiling and parapet themselves disrupted the views, and that the other artists in fact felt their works were diminished when placed beside buren’s banner because they were done in a scale proportionate to their own propositions, not the museum architecture. buren further noted that the installation by dan flavin, his most outspoken opponent, could be said to interfere with other works in the show, coloring them with the reflected light from its neon tubes.  “besides” buren has stated “in any group show… works by different artists always interfere with one another. for better or worse, that is the rule of the game.”
– part two is next!
how could i have never heard about this?
thanks gretchen!
please enjoy the passing time.
posted by matt olson


Nov 28, 2012

hello there friends, it’s claudette the intern. i am excited to resume my friday posts!
still buzzing from our trip to new york. it was something else.  there i was with the guys, witnessing the rolu magic first hand, in a wonderful haze of slight disbelief.  new york was hard work but it was also great, great fun. so many new friends! and i met people i know from the internet who, until i was standing right there with them, had seemed more imaginary than real  😉  
in some ways it makes sense that the trip would connect nicely to the things i’ve been researching here.  it especially brought to mind a recent post about the art of robert filliou.  i kept seeing his ideas of teaching and learning as performance arts in what the guys were doing, and precisely how they were doing it.  according to filliou, art – or i suppose the object – is only one activity in the entirety of “the permanent creation”, a situation where there is no established hierarchy between the artist (the teacher), the spectator (the learner) and the object.  what holds them together into a “permanent creation” is the making, the doing or what filliou calls theperformative aspect of creation.  and this democratizing impulse toward dialogue and interaction is central in filliou’s philosophy.
the video of the public version of settee x three after scott burton photo that rolu installed outside sit and read gallery illustrates this idea nicely.  we see the forms for the pieces being built, the concrete being poured, people surrendering objects to the mix which swallows up everything, then solidifies on the sidewalk, which the entire time remains, well, an urban sidewalk with passersby who are unaware of what is happening but become inadvertent participants.  the video is essentially showing a mini “permanent creation”.
i say mini because the video only shows one portion of the new york experience, albeit the most dramatic.  like i told matt in an email, it is as if the videographer walked into a happening that was already in progress and that continues well after the video stops.  most of the built pieces were finished on that sidewalk.  i thought  that the intense focus of making and the energy that went into that creation was part of the work/art.  at times, it was a bit surreal because it was so public but ultimately it was super riveting.  filliou sometimes refers to the “permanent creation” as “la fête permanante”which literally means the “permanent party”.  yes!  thank you rolu for inviting me to the party.  😉 
“the artist must realize also that he is part of a wider network, “la fête permanante” going on around him all the time.”
please enjoy everything today.
posted by claudette gacuti

happy laughter spreads. like beads threaded onto a colorful necklace, the stripes lin line up in formation, the confusion gives way to order as the laws of time take over dictating their return (why didnt they just sail away? what limits are there on…              

Nov 21, 2012

note to the reader: all the photographs produced in this book are souveneirs, documents of a work. they cannot replace it. they only show how the work was carried out, and the reader is asked to remember that they can falsify it-photographs can reduce, detract, fragment, frame, flatten. photographic reproduction of my work  can only be imprecise. finally, if there is such a things as the “reality” of photography, it is never the same as the “reality” of the work photographed, and we are not concerned here with overcoming this gap. – daniel buren

the scene before us is shot through with the idea and its execution, imagination and reality. happy laughter spreads. like beads threaded onto a colorful necklace, the stripes line line up in formation, the confusion gives way to order as the laws of time take over dictating their return (why didn’t they just sail away? what limits are there on their freedom?) to land as planned, right on the dot. back at their starting point, each is alone once more, each in its predetermined position on the line. reunited, they line up parallel to the shore, each striped sail an integral part of the whole. – dr. horst merton m.d.
our intern gretchen brought some fun stuff to show us today!  
the above taken from the pamphlet sail/canvas canvas/sail (1975) – daniel buren
thanks gretchen!
please enjoy the day.
posted by matt olson

since 1962 Ugo La Pietra has developed an activity conducive to clarifying and defining the relationship "person>environment". At the beginning, this process of work has made ​​instruments of knowledge (models of understanding) that tend to transform the-              

Nov 19, 2012

ugo la pietra on vimeo!  a few years back when “nic the intern” (aka a young hare) was doing a weekly post, we were on a total bender with his work. glad to see these videos are out there now!
via south willard where there are more or direct from vimeo here.
previously here,  here,  here to name a few.
please enjoy the passing time.
postes by matt olson

"what we are offered here is a facile synthesis of theater, architecture, and technology with none of the responsibilities – esthetic, moral or functional – that these separate disciplines exact from both their artists and…" review of "spaces" moma ’70              

Nov 16, 2012

have come across many mentions of this show “spaces” that took place at moma in 1970 in various places over the years and was always curious as it involves so many of my faves.
found this review of it at east of borneo.
please enjoy the passing time.  it’s my birthday today so it’s especially close for me.
posted by matt olson